200.000ster Besucher in der Ausstellung „Gesichter der Renaissance“ – Bode-Museum Berlin

Bode-Museum Berlin

Gesichter der Renaissance.
Meisterwerke italienischer Portrait-Kunst
25. August – 20. November 2011

Am Freitag 4. November konnte in der stark nachgefragten Ausstellung „Gesichter der Renaissance“ im Bode-Museum auf der Museumsinsel Berlin der 200.000ste Besucher begrüßt werden:

200.000ste Besucher der Ausstellung

v.l.n.r.: Michael Eissenhauer, Sarah Bühler, Kim David Bühler mit Hedi, Stefan Weppelmann
Foto: David von Becker

Kim David Bühler (26, Bühnentechniker am Theater) kam gemeinsam mit seiner Frau Sarah Bühler (32, Schauspielerin) und ihrer Tochter Hedi Bühler (6 Monate). Alle leben in Berlin Kreuzberg und wollten sich anlässlich des Geburtstages von Sarah Bühler die Ausstellung ansehen.

Um 10:30 Uhr wurde die Familie Bühler vom Generaldirektor der Staatlichen Museen zu Berlin, Michael Eissenhauer, sowie weiteren Vertretern des Museums empfangen.
„Der große Besucherandrang im Bode-Museum ist eine wunderbare Bestätigung unserer Arbeit! Denn hinter den „Gesichtern“ stehen unsere wertvollen Sammlungsbestände und fundierte wissenschaftliche Forschung. Beide Komponenten sind Grundlage unserer Museumsarbeit und haben diese Ausstellung zu einem überragenden Erfolg geführt,“ freute sich Michael Eissenhauer und überreichte den überraschten Besuchern einen Gutschein über zwei von airberlin gesponserte Flüge nach New York, sowie ein Jahresabonnement von art – Das Kunstmagazin.

Anschließend führte der Kurator der Ausstellung, Stefan Weppelmann, die Familie persönlich durch die rund 150 Meisterwerke der italienischen Frührenaissance.

Von Beginn an war die Ausstellung im Berliner Bode-Museum ein Publikumsmagnet. Erst vor vier Wochen konnte die 100.000ste Besucherin in der Ausstellung begrüßt werden.

Auch nach der Abreise des Gemäldes „Dame mit dem Hermelin“ von Leonardo da Vinci reißt der Besucherandrang nicht ab. Bis zum 20. November 2011 ist die Ausstellung noch im Bode-Museum zu sehen. Die Veranstalter empfehlen die langen Öffnungszeiten von Donnerstag bis Sonntag zu nutzen.

Courtesy Bode-Museum Berlin

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Extremes Brasilian Photography 1840/2011 – Center of Fine Arts, Brussels

Palais des Beaux-Arts, Bruxelles

Extremes
Brasilian Photography 1840/2011
06.10.2011 > 15.01.2012

The “Extremes” exhibition presents two poles of the history of photography in Brazil. The first section, curated by Pedro Vasquez, contains daguerreotypes, ferrotypes, and ambrotypes, old technology from before the introduction of the negative, illustrating the first hundred years of that rich history. The contrasting second section looks at the photography of recent decades, in which a whole range of modern techniques have been used to create exuberant images. Images of a vast land, from the Amazon forest and the desolate hinterland: a photography of abundance and poverty, ugliness and beauty, ecstasy and delicacy, contrasts both historical and contemporary – a photography of extremes. The contemporary section is curated by Guy Veloso and Rosely Nakagawa.

Walter Firmo

© Walter Firmo, Untitled, Caravelas-Bahia (Brazil), 1970

André Cypriano

Favela da Rocinha – membros da ONG SURFAVELA, Rio de Janeiro, Brasil
© André Cypriano

Walter Firmo

© Walter Firmo

Curators : Pedro Afonso Vasquez, Guy Veloso, Rosely Nakagawa, Frank Van Haecke

Courtesy Palais des Beaux-Arts
Images © All rights reserved

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Cast from ivory book cover in the Bodleian Library, Oxford – Photo of the day

Published by Geoff Barker on October 23, 2011 in Photo of the day.

Powerhouse Museum – Sydney

Cast from ivory book cover in the Bodleian Library, Oxford

This photo-mechanical print is one of the 24 Woodburytypes pasted into J. O. Westwood’s 1876 publication, ‘Fictile [casts of] Ivories in the South Kensington Museum’.

This print shows the front of a book cover carved from Ivory in Italy between 800 and 1000. The cover is in the Bodleian Library in Oxford and is an important example of early Christian art. In the centre is a youthful Christ, with long flowing hair and a cruciferous nimbus, treading down the lion, serpent, dragon and a young lion (Psalm xci, v. 13).

In his right hand he is holding a cross over his shoulders, and in his left an open book, inscribed IHS. XPS SUP(er) ASP(idem). Around him are twelve small compartments surrounded by borders ornamented with classical mouldings and pilasters, that contain representations of earlier scenes of the Gospel history and it is possible that the other part of the cover, which is now lost, showed later events with the Crucifixion in the centre.

Moving clockwise from the top left corner, the first compartment shows the prophet Isaiah standing by a tree holding a scroll inscribed ECCE VIRG(o) CONCI(piet) (Is. vii. 14) in Roman capitals, the C and G in the angulated form. The second compartment shows the Salutation of the archangel Gabriel. The Virgin Mary is sitting with her hands raised and open in front of her and her attendant is standing by a group of buildings. Gabriel, with a long rod, has just reached the ground and his wings are still partly extended. The third compartment shows the birth of Christ.

Joseph is sitting at the bottom to the right, Mary is sitting on the bed to the left and the infant Jesus is lying in swaddling clothes on the manger, with the heads of the ox and ass seen to the right. The fourth compartment shows the three Magi offering their gifts to Jesus who is sitting on Mary’s knees. The fifth compartment shows Herod commanding the slaughter of the children, one of whom lied dead at his feet, whilst another, who is larger than its mother who stands nearby with uplifted hands, is held by an attendant who is about to dash it to the ground.

The sixth compartment shows the Baptism of Christ, represented as a naked youth. The river Jorddan, in which his is to be baptised, flows out of a rock to the right. The Baptist, depicted as an aged man, stands to the left with his right hand on the head of Christ, over whom hovers the holy dove with rays springing from its beak. The seventh panel shows the first miracle at the marriage feast in Cana, with Christ commanding the servant to fill the six water-pots with water. The eighth compartment shows Christ asleep in the ship being woken by his three disciples.

The ninth compartment shows Christ restoring life to the ruler’s daughter (Matthwe ix. v. 25), who is lying on the bed, at the side of which stand her father and Christ, who has his right hand raised in benediction. The tenth compartment shows Christ driving the devils out of the demoniac and into the herd of swine, who are rushing downwards towards the sea.

The eleventh compartment shows Christ healing the paralytic, who is carrying his bed on his shoulders in the same way as is seen on early Christian sarcophagi. The twelfth compartment shows the woman with the bloody flux touching the hem of Christ’s clothes.

No known copyright restrictions.

© Copyright Powerhouse Museum

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Photographie Brésilienne 1840/2011 – Palais des Beaux-Arts, Bruxelles

Palais des Beaux-Arts, Bruxelles

Extremes
Photographie Brésilienne 1840/2011
06.10.2011 > 15.01.2012

L’exposition Extremes montre la diversité de la photographie brésilienne. Elle met en lumière ses aspects historiques comme sa production contemporaine. Des images d’un pays immense, de la forêt amazonienne et de l’hinterland abandonné, une photographie de l’abondance et de la pauvreté, de la laideur et de la beauté, de l’extase et de la délicatesse, autant de contrastes surgis de l’histoire et de l’actualité, et immortalisés par une photographie des extrêmes.

Walter Firmo

© Walter Firmo, Untitled, Caravelas-Bahia (Brazil), 1970

André Cypriano

Favela da Rocinha – membros da ONG SURFAVELA, Rio de Janeiro, Brasil
© André Cypriano

Walter Firmo

© Walter Firmo

Photographes contemporains:
Adenor Gondim – Anderson Schneider – André Cypriano – Andre Vieira – Carlos Moreira – Cássio Vasconcellos – Claudia Andujar – Cristiano Mascaro – Gustavo Lacerda – José Bassit – Julio Santos – Luiz Braga – Maureen Bisilliat – Paula Sampaio – Pedro Lobo – Thomaz Farkas – Tiago Santana – Walter Firmo

Commissaires : Pedro Afonso Vasquez, Guy Veloso, Rosely Nakagawa

Courtesy Palais des Beaux-Arts
Visuels © Tous droits réservés

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Dancing in Shanghai, 1926 – Photo of the day

Published by Kathy Hackett on November 5, 2011 in Photo of the day.

Powerhouse Museum – Sydney

Dancing in Shanghai, 1926

This photograph from an unknown studio shows Florence, ‘Bobby’ Broadhurst and an unidentified dance partner in Shanghai in 1926. The photograph was probably used to promote The Broadhurst Academy.

The Broadhurst Academy Incorporated School of the Arts, a finishing school created to attract clients from the wealthy British and American expatriate communities, was the first business venture attempted by the adventurous young Australian, Florence Broadhurst. The Academy offered classes in a range of disciplines including dancing, elocution, deportment and short-story writing.

Florence Broadhurst’s time in Shanghai was brief, a little over twelve months, but she made her mark, endeavouring to have her academy publicised whenever possible. Today, Broadhurst is best-remembered for her striking wallpaper designs. Some of these designs, along with other photographs from the album that includes this image, can be viewed in the Powerhouse Museum online collection database. Another photograph of Florence dancing has been published previously on Photo of the Day.

Post by Kathy Hackett, Photo Librarian
Photographer unknown.
No known copyright restrictions.

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